A Bout Bord Scannán Na Héireann / the Irish Film Board
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1 Production Catalogue 2011 68 1 About bord scAnnán nA héireAnn / the irish film boArd d Bor Scannán na hÉireann / the Irish Film Board (IFB) is Ireland’s national film agency. The agency supports and promotes the Irish film industry and the use of Ireland as a location for international production. ‘the combination of ambitious creatively driven irish projects and high profile international productions all working in ireland in the last year is set to continue into the year ahead as a result of on going Government support. irish producers, directors, writers, actors, and technicians not only benefit from the employment this level of activity represents, but their growing international reputation for professionalism, creativity and energy lays the foundation for sustainable future growth.’ James morris Chairman, Bord Scannán na hÉireann/ the Irish Film Board. 2 chief executive Simon Perry business Affairs deputy chief executive Teresa McGrane financial controller Celine Forde introduction 04 business & legal Affairs executive Mark Byrne highlights 06 industry Affairs executive Patrick O’Neill features / coming soon 14 Accounts co-ordinator Albert nobbs 14 Suzanne Keane (Part-time) citadel 16 Production & development come on eileen 18 Production executives dollhouse 20 Alan Maher earthbound 22 Emma Scott Grabbers 24 development executive losing it 26 Andrew Meehan lotus eaters 28 Production & development co-ordinator Parked 30 Sarah Dillon stella days 32 Applications & schemes co-ordinator superhero 34 Jill McGregor the other side of sleep 36 the Pier 38 marketing marketing & communications executive the rafters 40 Louise Ryan features / creative co-Productions 44 irish film commission essential Killing 44 film commissioner istanbul 45 Naoise Barry lapland odyssey 46 deputy film commissioner Perfect sense 47 Mags O’Sullivan the last furlong 48 sVP irish film commission us the moth diaries 49 Jonathan Loughran this must be the Place 50 Administration executive Assistant features / released 2010 52 Niamh O’Reilly his & hers 52 Administrative Assistant ondine 53 Aileen McCauley Perrier’s bounty 54 savage 55 board members All Good children 56 James Morris (Chair) cherrybomb 57 Lesley McKimm colony 58 Tristan Orpen Lynch eamon 59 Kevin Moriarty foxes 60 Kirsten Sheridan Pyjama Girls 61 Johnny Gogan Barry Grace swansong – the story of occi byrne 62 the daisy chain 63 Co-ordinated by Suzanne Murray the fading light 64 3 contents the Pipe 65 headspace 94 trafficked 66 hearing silence 94 Zonad 67 loft 94 needle exchange 96 documentary 70 ol’ one eye 96 Knuckle 70 Paperman 96 the summit 71 Pentecost 96 Aftermath 72 return to roscoff 96 Apples of Golan 72 signs 96 Art Will save the World 72 spanx & eve 98 barbaric Genius 72 special ed 98 for one night only 74 the christening 98 living colour 74 the invention of the lightbulb 98 martin hayes in five Ways 74 the irish dog Whisperer 98 Patrick ireland 74 the meaning of eggistence 98 men of Arlington 76 the monk and the fly 100 off the beaten track 76 the night nurse 100 the liberties 76 tV dinner 100 stand up: my best friend 78 the Parting 100 What We leave in our Wake 78 shoe 100 Wonderland 78 film directory 104 Animation 82 i’m a monster 82 Jo and Jack 82 legends of Valhalla 82 Punky 84 santa’s Apprentice 84 tilly & friends 84 television / drama 88 corp & Anam 88 shorts 90 As the light leaks in 92 blinky™ 92 blue rinse 92 collaboration horizontale 92 crossing salween 92 daylight saving time 92 flatbed 94 dummy 94 fumbling towards ecstasy 94 INTRoDUCTIoN Amid the hard times that became The first is the appearance of an Ireland’s lot in 2010, Irish arts and artists impressive number of new women continued to sprinkle the world with the directors – a first for Ireland – with words, sounds and images that denote confident voices and specific tastes: Irish culture – so that however bad the Margaret Corkery (Eamon), Carmel news and the numbers were, people the Winters (Snap), Juanita Wilson (As If I Am world over could still catch the feel, the Not There), Alicia Duffy (All Good Children), look, the spirit of Ireland and think of it Finola Geraghty (Come On Eileen); and as a singular and vibrant place. By such Rebecca Daly, Alexandra McGuinness, means are diplomatic paths smoothed, Steph Green and Norah McGettigan, all of commercial deals rendered more whom are, or soon will be, at work on their agreeable, and tourism choices made. first feature films. Film played its part. New Irish feature The other development is the result of films were selected for major festivals a Bord Scannán na hÉireann/Irish Film in Cannes, Tribeca and Toronto; Irish Board (IFB) initiative (undertaken with animation was a strong contender at the IFI and Access Cinema) to ensure the 2010 Academy Awards (The Secret of exhibition in Ireland of certain Irish Kells, Granny O’Grimm’s Sleeping Beauty); films which do not find a commercial there was an Oscar-nominated Irish short distributor but which, on the evidence of film (The Door); and four Irish feature attention paid to them by international documentaries were released in Irish festivals and criticism, are of manifest cinemas during the year, one of them (His cultural importance. We have started to & Hers) turning out to be a palpable hit, see proof of the notion that the value of not just in Dublin but across the whole a film can be measured in two ways: by country, and all of them generating press the size of its audience (box-office), but and industry attention overseas. As Irish also by the intensity of engagement of its producers become ever more ingenious audience with the subject-matter and the at holding down the costs of their filmmaker’s treatment of it, particularly manufacture, the ‘invisible’ but very real when s/he is there to present and discuss earnings derived from the showing of Irish the film. films like these to audiences of many other races and tongues become exponentially More than anything, I am astonished more significant. by the sheer volume of work that Irish filmmakers have achieved over recent Never tempted to be satisfied with years. If Ireland has been able to make such gains as have been made in Irish more rather than fewer films in the filmmaking during my five-year tenure latter half of the decade – with none of here, there are nonetheless two recent the kind of support from television that developments that I regard as strongly other European film industries can take positive. In different ways, I count on for granted – this has been thanks to them to help to create a new relationship consistent funding increases granted to between Irish cinema and Irish audiences. the IFB by the Irish government, to no 4 less consistent enhancements made to and the more vulnerable it is, the more the level of tax incentive benefit, and to it has to brighten and burnish the image Irish producers’ energetic pursuit of co- of its own self and develop film for its production opportunities throughout the national purpose.” whole of Europe. That was part of a lecture, delivered under An interesting and, I believe, appropriate the auspices of the National Film Institute balance was struck in 2010 between the of Ireland by the Scottish documentary selective, predominantly cultural support filmmaker, John Grierson, at the Gresham provided by the IFB and the economic Hotel in Dublin on 11th May 1948. More support available through the Section than 60 years on, the implied task seems 481 tax incentive. There was no shortage much the same. of high-end, foreign television drama shot in Ireland during the year (Camelot, simon Perry Primeval, Treasure Island, Neverland and Chief Executive more), which brought vital employment and industrial benefits and for which the new level of Section 481 benefit alone acted as sufficient inducement. So while the tax incentive generated much-needed economic gains, the IFB’s resources could be fully applied to Irish films – and to long- term investment in Irish filmmakers, the national assets of the future. I read the following recently: “Many countries are worried today about the vast power of film in the hands of one or two great countries. They see their boundaries invaded by images and ideas which are alien to them. They want to preserve and develop their own cultures. They want also to regard the flow of culture as necessarily a two-way flow in which they will have their own opportunity of expressing themselves to others. Realising this, they feel that it is vital for their cultural defences that, no matter how small they are, they should make something of the cinema within their own borders. It has, in fact, become something of a paradox, that the smaller a nation is 5 oscAr nominAted the secret of Kells Primeval films on locAtion in irelAnd 6 HIGHLIGHTS ‘10 January • HIS & HERS screens at the Sundance Film Festival. Kate McCullagh and Michael Lavelle win the prize for Excellence in Cinematography • Four Irish shorts are selected for Clermont Ferrand – MOORE STREET MASALA, A FILM FROM MY PARISH – 6 FARMS, THE POLISH LANGUAGE, PLEASE SAY SOMETHING • IFB funded Irish language series NA CLOIGNE airs on TG4 oscmichAr nominAel FassbenderAted the door snAP • Irish short THE BASKET CASE wins at Fantaspoa Film Festival • Steven Soderbergh’s HAYWIRE starts filming in Dublin • ONE HUNDRED MORNINGS premieres at the Slamdance Film Festival in the US and receives a Jury Special Mention • ONDINE is picked up for US Distribution • Eleven Irish shorts are selected for the Heart of Gold festival in Australia • PARKED goes into production